Monica

Hadestown

Fri, 18 Nov 2022 03:49:59 GMT

Last night we saw the Broadway tour of Hadestown, a musical retelling of the story of Orpheus and Eurydice (and Hades and Persephone). I'll assume my readers know (or will Google) the Greek myths, so in that sense there are no spoilers, but this show puts an interesting spin on it. Narrated by Hermes and with active participation by the Fates, we see both Orpheus and Eurydice "up above" and Hades' realm "down below", which is reached by a train. The train motif shows up in the music, the staging, and (I kid you not) the lighting. The company is smaller than many musicals and put to effective use. I enjoyed the music and don't have a good way to describe it.

Eurydice's and Oprheus's world is harsh from climate change, the program notes, though I might have missed that specific angle otherwise. Orpheus is focused on writing a song that will bring the world back into balance, but it's slow going. In this version Eurydice isn't bitten by a poisonous snake; starving and cold in the midst of winter and unable to find work, she is lured to Hadestown by promises of work and shelter. But the workers there toil away in misery in a factory, building fortifications for Hades' domain. ("Why We Build the Wall" resonates well beyond this show, I assume by design.) When Orpheus shows up to rescue Eurydice, the other workers are taking note too. Meanwhile, Persephone, whose marriage with Hades is rather rocky (shall we say), is also taking note of the power of love.

The story is a tragedy; we know it from the myth and we're told so by Hermes in the introductory stanzas of the show. But it has a positive vibe, too. I don't want to say more about that for people who haven't seen it yet.

Orpheus's music calls for falsetto in some key places -- whole passages, not just a note or two -- and the actor in this production pulled it off very smoothly. At the other end of that, uh, scale, I find myself wanting to catch a glimpse of the score, because Hades has some very low bass notes, also performed well in this production. C2 maybe???

I don't see a lot of Broadway-class shows so maybe this is normal, but I was very impressed by the staging and especially the lighting. There's one set, used throughout, that evokes the different settings just through the movements of small items (by cast members, not gophers) and changes of lighting. The lighting in this show is very active; I commented to Dani that the lighting operators deserved cast credit. It's that integral to the show, and it's not a small effort. One warning, though: there are strobe effects, and there were times when lights were pointed at the audience for brief periods.

There were some sound problems in the show we saw -- engineering problems, not cast problems. When things got loud, they spiked the levels and we got some distortion, making it hard to hear the lyrics in a few places. I'm told by somebody who sees a lot of shows there that this is not uncommon in that venue (Benedum Center), alas.

I enjoyed the show, even with those sound issues. I wasn't familiar with the show and hadn't heard the soundtrack before seeing it; this was very much an "I've heard good things about it" outing.

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Sierra to Big Sur in one step

Fri, 08 Oct 2021 01:01:48 GMT

I have a new Mac Mini (yay!). My old one was running OS 10.12 (Sierra); the new one is running 11.6 (Big Sur). Some things are different and some parts of the transition were just bizarre,¹ but it wasn't as jarring as I thought it would be.

Except for installed applications. Back in Catalina (what was that, 10.15?), 32-bit applications stopped working. I don't know of a way to take inventory (one of several reasons I didn't update the OS on that machine). I used Migration Assistant to bring my existing stuff over to the new machine and then walked through the applications to see which ones would still run. Some, like Emacs and Paintbrush, I needed to download new copies of. Some I would need to buy new copies of (but nothing important enough to do so). Some are just plain dead -- no 64-bit version is available. In this last category are Trope Trainer, which I already had reasons to abandon that I should write about separately, and Encore, the music-typesetting program I use(d). The latter came as a surprise.

Solving the Encore problem isn't urgent but it is important. I'm not doing a lot of music composition and arrangement these days, but I have years' worth of files in Encore's native binary format, or in that of its predecessor, Rhapsody. (Encore reads both.) I would like to not lose those source files. Encore can export MIDI, but exporting MIDI and then importing it into something else produces poor results, plus you lose all the typesetting cleanup and text.

This is the problem with closed file formats. If only one program (or suite) can read a format and that product line goes away, you're stuck.

I already re-bought Encore once, when I moved from Windows to Mac ages ago. I reluctantly checked their site to see what it would cost to get a modern version, and found that they punted with Catalina -- their site says "don't upgrade to Catalina if you want to run our software", which was practical advice a few years ago but isn't now. So Encore is dead, it looks like.

(And this is one of the reasons I don't make major OS updates on machines I care about. Had I updated the old machine to Catalina back when everybody was pushed to do so, I'd have been left hanging with no rollback option short of a brute-force recovery from backup.)

I don't know what my recovery options are for not having to do a lot of typesetting by hand again. I will of course export those MIDI files on the old machine (better than nothing), but I hope I can find something else that reads Encore format and can then be saved as something more portable (MusicXML?).

I can, of course, continue to use the old machine. As with the last time I migrated to a new machine, I've set up the old one with remote desktop. As with the last time, I suspect that will work for a while but not forever.

Edited to add: I was wrong; Encore does export MusicXML, so that should give me a path forward. (I was looking in the wrong place.)

¹ For example, my browsers retained their state, including tabs, but Chrome-based browsers (Chrome and Brave) lost their extensions. I had to look them up and reinstall them and then reconfigure them (and reauthorize all my userscripts). Firefox, on the other hand, brought its extensions over with no problems. All of this is data on disk; does Chrome actively disable migrating with extensions?

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[SCA] sad news from AEthelmearc

Sun, 20 Dec 2020 18:10:47 GMT

Master Remus Fletcher, who was an instigating force in music in the Debatable Lands and at events across the kingdom and beyond, died on Friday. The obituary talks some about his SCA participation, and there'll be an AEthelmearc Gazette post.

This is such sad news. Remus encouraged music and was sometimes a one-person source of ambience. During events, if there was no other entertainment happening, he would sit in a corner and play. He was happy to put instruments in curious people's hands and teach. Some of the people he drew in went on to surpass him musically, but I never got the sense that he felt threatened by that -- he just wanted there to be more music. Before there was a Debatable Consort, Remus showed up at fighting practice every week with packets of photocopied music and a bag of recorders and the Consort grew from that. He was part of the Debatable Choir during its early days, and sang individually at events frequently.

Remus was friendly and welcoming to all. He encouraged people he knew to reach higher, to stretch, but he didn't judge -- he invited, never criticized. I will miss him.

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